Fryderyk Chopin (1810–49), although the most beloved of piano composers, remains a contradictory figure, an artist of virtually universal appeal who preferred the company of only a few sympathetic friends and listeners. Chopin and His World reexamines Chopin and his music in light of the cultural narratives formed during his lifetime. These include the romanticism of the ailing spirit, tragically singing its death-song as life ebbs; the Polish expatriate, helpless witness to the martyrdom of his beloved homeland, exiled among friendly but uncomprehending strangers; the sorcerer-bard of dream, memory, and Gothic terror; and the pianist's pianist, shunning the appreciative crowds yet composing and improvising idealized operas, scenes, dances, and narratives in the shadow of virtuoso-idol Franz Liszt.
The international Chopin scholars gathered here demonstrate the ways in which Chopin responded to and was understood to exemplify these narratives, as an artist of his own time and one who transcended it. This collection also offers recently rediscovered artistic representations of his hands (with analysis), and—for the first time in English—an extended tribute to Chopin published in Poland upon his death and contemporary Polish writings contextualizing Chopin's compositional strategies.
The contributors are Jonathan D. Bellman, Leon Botstein, Jean-Jacques Eigeldinger, Halina Goldberg, Jeffrey Kallberg, David Kasunic, Anatole Leikin, Eric McKee, James Parakilas, John Rink, and Sandra P. Rosenblum. Contemporary documents by Karol Kurpiński, Adam Mickiewicz, and Józef Sikorski are included.
Music Theory For Dummies makes music theory easy tounderstand, with a friendly, unintimidating overview of everythingyou need to know to become fluent at knocking out beats, readingmusical scores, and learning to anticipate where a song shouldgo—whether you're reading someone else's music or writingyour own. Whether you're a music student or a music lover, you'lllearn to read, write, and understand music with this informativeguide. With expert instruction, you'll put it all together as youcompose, arrange, and create original melodies, harmonies, andchords of your own, with helpful tips for performing your pieces infront of an audience. This new third edition presents the mostcurrent teaching techniques, the newest music genres and examples,and updated information on all aspects of understanding, creating,and performing music.
Studies have shown that music training improves children's'verbal and spatial abilities, and it's been associated withcognitive and mathematical benefits in adults. The music job marketis expected to increase over the coming years, and music theory isbecoming an increasingly common part of education at all levels.Music Theory For Dummies provides the instruction you needto get more out of music than you ever thought possible.Master major and minor scales, intervals, pitches, andclefsUnderstand basic notation, time signals, tempo, dynamics, andnavigationEmploy melodies, chords, progressions, and phrases to formmusicCompose harmonies and accompanying melodies for voice andinstruments
Whether you intend to pursue a degree or career in music, orjust enjoy listening to it, understanding the theory behind itgives you a whole new appreciation for the artistry andcraftsmanship behind the pieces that give you goose bumps. It's amix of technical skill, inborn talent, and plenty of practice– and now you can try your hand at it, with Music TheoryFor Dummies.
The essays, which make up the first part of the book, begin with Leon Botstein's inquiry into the reception of Dvorák's work in German-speaking Europe, in England, and in America. Commenting on the relationship between Dvorák and Brahms, David Beveridge offers the first detailed portrait of perhaps the most interesting artistic friendship of the era. Joseph Horowitz explores the context in which the "New World" Symphony was premiered a century ago, offering an absorbing account of New York musical life at that time. In discussing Dvorák as a composer of operas, Jan Smaczny provides an unexpected slant on the widely held view of him as a "nationalist" composer. Michael Beckerman further investigates this view of Dvorák by raising the question of the role nationalism played in music of the nineteenth century.
The second part of this volume presents Dvorák's correspondence and reminiscences as well as unpublished reviews and criticism from the Czech press. It includes a series of documents from the composer's American years, a translation of the review of Rusalka's premiere with the photographs that accompanied the article, and Janácek's analyses of the symphonic poems. Many of these documents are published in English for the first time.